搬運自：微信公眾號【評論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Joonly EC

審譯：Ryan-Chopin

排版：Ryan-Chopin

St. Vincent用鋼琴散發(fā)無限誘惑

Annie Clark返工后的這張專輯令人坐立不安，成果感覺就像是歇斯底里后的深呼吸。

Last year, Annie Clark, d.b.a.?St. Vincent, released?Masseduction, a jittery portrait of 21st-century angst that straddled the gap between her neurotic, intricate art-rock and alt-pop’s big hooks and intricate textures. Produced by maximalist du jour Jack Antonoff, the album was a thicket of ideas, a?cri de coeur?about modern problems that used sonic information overload to drive its message home.?Masseducation, which Clark and pianist Thomas “Doveman” Bartlett recorded in the wake of?Masseduction‘s completion, is the deep breath after the freak-out, its less dense structures allowing Clark’s compositional and vocal talents to shine.

2017年，Annie Clark, 藝名為St. Vincent，釋出了《Masseduction》，這是一張對二十一世紀(jì)的不安的真實寫照，聽起來也令人坐立難安，這張專輯撐開了她的神經(jīng)質(zhì)的復(fù)雜文藝搖滾和女低音流行樂的大段副歌，還有復(fù)雜的結(jié)構(gòu)之間的空隙。專輯由極具特色的Jack Antonoff挑起編曲大梁，這張專輯的想法錯綜復(fù)雜，用音素把對現(xiàn)代煩惱的吶喊向大眾傳遞出來。Clark和畫家Thomas、表演家Bartlett一起做了專輯的收尾工作，這張專輯就是一陣歇斯底里后的深呼吸，比較輕薄的編曲結(jié)構(gòu)使得Clark的作曲和演唱天賦大放異彩。

In contrast to the process behind?Masseduction, which was the culmination of years’ worth of writing and star-studded recording sessions,?Clark and Bartlett (who also played on?Masseduction)?put together its “reimagining” in a flurry of instinctual activity: “We neither rehearsed nor spoke about how to approach any song, but rather played 2-3 live takes, picked the best one, and trusted the spirit of the moment. It was fast. Intuitive. Discovered. Raw,” Clark said in a statement earlier this month. That seat-of-the-pants energy jolts some of the reinventions: “Sugarboy” is transformed from hopped-up dancefloor chaos into a gorgeous showcase for Clark’s formidable soprano, with musical tension coming courtesy of a chewed-nails piano counterpoint;?Masseduction?opener “Hang On Me,” this set’s closer, flips from a come-hither beckoning to a better world into a let’s-stay-together plea. Only “Pills,” an?ode to the pharmaceutical age that sounds like an unquietable mind on?Masseduction, doesn’t quite land, its manic energy transmuting into something a little too manic-pixie. But otherwise,?Masseducation?is an object lesson in how sonic switch-ups can offer new insights into even the most idea-dense material— and listeners as well as artists can have those epiphanies.

《Masseduction》的幕后制作過程充滿奇妙，并帶有強烈的對比：它讓人感覺它被鑲嵌著繁星，是一場等同于多年創(chuàng)作的錄制故事；但實際上是，Clark和Bartlett（也在Masseductiom中參與了演奏）一同靠著本能風(fēng)火流星地完成了創(chuàng)作："制作歌曲的時候，我們沒排練，也沒有探討，而是直接現(xiàn)場演奏了兩到三次，然后選出最好的一次，然后就是相信那一刻的直覺了。錄制過程非常快，相信直覺，充滿探索，沒有加工過"，Clark早些時候在一次聲明中如此說到。這些全憑經(jīng)驗的能量產(chǎn)生了一些全新的創(chuàng)作："Sugarboy"從跳著舞的混亂變成了Clark那強大女高音的華麗秀場，緊張的鋼琴旋律的配合同時擴展了音樂的張力?！禡asseduction》的開場曲"Hang On Me"更加接近專輯的概念，從一個誘人的召喚到一個更好的世界，變成了一個“讓我們在一起”的請求。"Pills"這首歌，是專屬這個滿是處方藥的時代之歌，在專輯中就像是一個急躁的大腦，它坐立不安，狂躁的力量蛻變成了一個狂躁的小精靈。不過從另一面來看，《Masseduction》展示了音符的轉(zhuǎn)換，還通過想法濃郁的材料提供了超前的洞察力——這是聽眾和藝術(shù)家都能夠同時產(chǎn)生的頓悟。